I was playing with The Roadrunnners at some school and they had a special guest, Scotty McKay. And we backed him up. After the gig, he came over and asked me if I wanted to play a job with him. I thought he was asking about the whole band. He wasn't. To make a long story short, I had borrowed money from my dad to buy a bass guitar as we didn't have a bass in the band. And I was quite literally new to it, but Scotty liked the way I played and ended up leaving the band and playing with Scotty for a long time. As a matter of fact Scotty is the one who got me into the recording studio to do my own stuff. It turned out to be "Summers Coming" which I wrote in the back seat of his car on the way to the studio. We already recorded the A side of the record with a tune called 'Walk On' and needed a B for the release. Two DJs from KLIF heard it, Chuck Dunaway and Bill Enis and they played it for Diamond Records in NYC and they agreed to distribute it. Made it to the Top 50 nationally that year. The next time I walked into KLIF, they said 'You want to be on American Bandstand in Philadelphia?' I says 'sure, I guess...' So I went on the Dick Clark tours.

The first time I saw a show advertised in Dallas Morning News, Bo Diddley was gonna play at Louann's. Because by that time, I had heard that song, "Bo Diddley," and I had heard "Can't Judge A Book by Looking at Its Cover," and "Who Do You Love." And, well, I could recite the name of every song on that album. There was something in my mind about the way that album sounded. It went to the fact that it was on a 78 LP record, which is to say that it was thin. And I didn't feel the pulse. I thought, "There's something else going on in this rhythm that makes it so meaningful." And the more I studied it, the more I realized there is a counterpoint that's being played against what Bo Diddley has played. So, I played the record enough to wear the grooves off of it, but I also discovered in that record that there was a low drum part.